Realism of contrast could not be more effective as we arrive at the 'Epigraph',
which Prokofiev added to be played at the opera's beginning but here
appears after Scene 7, the chorus announcing the invasion of Russia and
the people's strength following Pierre challenging his brother-in-law
for his contemptable behaviour. Scene 8: The Night before the battle, in
part might be compared with Walton's music for Henry V talking to
his troops prior to the Battle of Agincourt, but disguise, jealousy and
furtive listenings add piquancy to Prokofiev's scoring at this point.
The battle itself, with Napoleon's doubting frustrations countered
by the Russian resistance, and the eventual retreat allowing the French
to occupy Moscow are vividly realised by the recording during Scenes 9 -11
[listen - CD3, track 1, 0:03-1:01]. As Andrey
dies in Natasha's arms following visions of earlier, happier days,
we come to the final scene as Napoleon and his army vacate Moscow - so marvellously
portrayed by Messonier in his famous 1864 painting. While Pierre is freed
from imprisonment by the partisans, his friend Karatayev - Neil Jenkins
- is shot for not keeping pace with other prisoners. Kutuzov, on horseback
is hailed by his people for a famous victory. Such is the irony of warfare
and greed for possessions.